Archives par mot-clé : Art moderne

Southeast of Now, vol. 1, n° 2, October 2017

Southeast of Now : Directions in Contemporary and Modern Art in Asia,  vol. 1, n° 2, October 2017

Numéro en libre accès

Table of contents

  • Editorial : Discomfort

Articles

  • Felicitous « Misalignments »: Bagyi Aung Soe’s Manaw Maheikdi Dat Pangyi by Yin Ker
  • The Painting of Prostitutes in Indonesian Modern Art by Matt Cox
  • Rites of Change: Artistic Responses to Recent Street Protests in Kuala Lumpur by Fiona Lee
  • The Third Avant-garde: Messages of Discontent by Leonor Veiga

Curatorial Intervention

  • Queering Postnational Tendencies in Contemporary Art from Thailand by Brian Curtin

Translations

  • « We Know Where We Will Be Taking Indonesian Art », 1948 by Sindudarsono Sudjojono translated by Brigitta Isabella
  • « Untitled Letter to Editor », Jakarta, 25 December 1942 by Sindudarsono Sudjojono translated by Matt Cox

Review

  • Michelle Antoinette, « Reworlding Art History: Contemporary Southeast Asian Art after 1990 » by Clare Veal

Short Response

  • A Flimsy Image: A Case Study for Learning to Listen by Fiona Amundsen

Articles à télécharger sur : https://muse.jhu.edu/issue/37275

 

Intersections of the Literary & Artistic Worlds in Myanmar & the Region in the 20th Century

Intersections of the Literary & Artistic Worlds in Myanmar & the Region in the 20th Century, 17/11/2017, Singapore

This proposed one-day symposium corresponds to the last leg of the NTU-funded project on AungSoeillustrations.org, a database of illustrations by Myanmar’s trailblazer of modern art, Bagyi Aung Soe (1923–1990).

The examination of Aung Soe’s dated illustrations, which are the only means to tracing his artistic evolution between 1948 and 1990, led to the awareness of the crucial role played by illustration in the development, dissemination and documentation of 20th-century art in Myanmar. With neither governmental support nor a developed art market, illustration in printed matter was the artist’s mobile showcase and the platform for artistic experimentations. Whether in Mandalay or Yangon, artists both mainstream and avantgarde illustrated: book covers, magazine covers, album covers, posters, illustrations and vignettes inside publications, etc.

The rise of Aung Soe in the years following the country’s political independence is inextricably linked to the support of Myanmar’s foremost literary figures: Dagon Taya (1919–2013) who initiated him to Western modernism; Min Thu Wun (1909–2004) and Zawgyi (1908–1990) who nominated him for the Indian government scholarship to study art at Visva-Bharati University founded by Rabindranath Tagore (1861–1941) in Santiniketan,  India, thereby mandating him with the revival of traditional Burmese art. Indeed, as in many countries in the region, Burmese writers and poets were ahead of the artists in addressing the urgency and challenges of a localised artistic modernity. Today, artists, writers, poets, publishers and filmmakers continue to work closely together in Myanmar; the divide between the literary and artistic worlds is fallacious. Specialisation is not necessarily a condition of artistic excellence in this part of the world, for an artist writes as well as publishes, and a poet paints as well as edits: the worlds of artistic creation, literature and filmmaking are symbiotic.

This symposium seeks to:

  • investigate the hitherto overlooked medium and agency of illustration in the articulation of “art” in Myanmar and the region;
  • discern geneses of “art” in Myanmar and the region from the perspective of the literary world;
  • explore ways of thinking and writing about “art” beyond that yoked to the Euramerican experience and agenda;
  • reflect on common threads and divergences in the way(s) in which modern art emerged in tandem with developments in the literary world in Myanmar and the region.

Intersections of the Literary & Artistic Worlds in Myanmar & the Region in the 20th century welcomes papers engaging with any of these four above-listed tropes. Areas of interest include but are not restricted to:

  • Illustration as a site for articulating artistic modernities in Myanmar and the region
  • Illustration as a means of making sense of constructs and paradigms of “art” in Myanmar and the region
  • Illustration as image, body and medium in “art” in Myanmar and the region
  • Writings on art and their role(s) in shaping artistic practice, production and reception in Myanmar and the region
  • Literature and the writer in art; art and the artist in literature in Myanmar and the region
  • Narratives of collaboration, dialogue, debate or/and contention between writers, artists, poets, filmmakers, editors, publishers, critics, etc. in Myanmar and the region
  • Ecosystems of writers, artists, poets, filmmakers, editors, publishers, critics, etc. in Myanmar and the region

Voir : http://ntuprojects.com/portfolio/aung-soe/symposium/

Southeast of now : Directions in Contemporary and Modern Art in Asia

Southeast of Now : Directions in Contemporary and Modern Art in Asia, vol. 1, no. 1, March 2017

This new journal is published by NUS Press, Singapore

Site : https://muse.jhu.edu/issue/35721

Southeast of Now aims to look and listen closely to the discursive spaces of art in, from, and around the region that is referred to as Southeast Asia, from a historical perspective. The journal presents a necessarily diverse range of perspectives not only on the contemporary and modern art of Southeast Asia, but indeed of the region itself: its borders, its identity, its efficacy, and its limitations as a geographical marker and a conceptual category. As such, the journal is defined by a commitment to the need for and importance of rigorous discussion, of the contemporary and modern art of the domain that lies south of China, east of India, and north of Australia.

Vous pouvez lire des extraits des articles à l’adresse indiquée ci-dessus et l’ensemble du numéro sera accessible à tous dès la semaine prochaine.

Table of contents

Editorial

  • Editorial : Discomfort

Articles

  • “Total Community Response”: Performing the Avant-garde as a Democratic Gesture in Manila by Patrick D. Flores
  • An exceptional inclusion : On MoMA’s Exhibition Recent American Prints in Color and the First Exhibition of Southeast Asian Art by Kathleen Ditzig
  • Endurance and Overcoming in the Art of Amron Omar and Melati Suryodarmo: Invoking Uncommon Alignments for Contemporary Southeast Asian Art History by Michelle Antoinette
  • A Dark Spot on a Royal Space: The Art of the People’s Party and the Politics of Thai (Art) History by Thanavi Chotpradit

Interview

  • Of Poems in a Recalcitrant Landscape: An Interview with Stanley J. O’Connorn by Pamela N. Corey, Stanley J. O’Connor

Archives

  • Searching for Discomfort by Sharmini Pereira, P. Kirubalini

Review

  • Hol Pidan: Cambodian Traditional Pictorial Silk Textile Preservation and Development, at the National Museum of Cambodia, 2016 by Joanna Wolfarth

Artists’ Projects

  • Introduction by Vera Mey
  • Towards Figures of Dedication, and a Flood (2015) by Tom Nicholson, Grace Samboh and Edhi Sunarso
  • Getah Bening by Shooshie Sulaiman